Performance analysis and popular music: A manifesto

Contemporary Theatre Review

Volumn 14, Issue 1, 2004, Pages 1-13

  Auslander, Philip ^a  

^a GEORGIA INSTITUTE OF TECHNOLOGY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61449284695     PISSN: 10486801     EISSN: None     Source Type: Journal    
DOI: 10.1080/1026716032000128674     Document Type: Article

References (20)

1. For a discussion of both the evolution of performance studies and the status of concepts of performance and performativity in a variety of disciplines, see my General Introduction in Philip Auslander (ed.), Performance: Critical Concepts in Literary and Cultural Studies (4 Vols) (London: Routledge, 2003), pp. 1-24
2. Vera Mowry Roberts, On Stage: A History of Theatre, 2nd edn (New York: Harper and Row, 1974), p. 108
3. Patrice Pavis, L'Analyse des spectacles (Paris: Editions Nathan, 1996), p. 121
4. Anthony Tanxmasini, 'Bravos At Opera Are Expected, But Booing?', New York Times (1 February 2003), pp. A19, A24
5. Christopher Small, Musiching: The Meanings of Performing and Listening (London: Wesleyan University Press, 1998), pp. 4-5
6. Theodore Gracyk, Rhythm and Noise: An Aesthetics of Rock (Durham: Duke University Press, 1996), p. 75
7. Lawrence Grossberg, 'Reflections of a Disappointed Popular Music Scholar3, in Roger Beebe, Denise Fulbrook and Ben Saunders (eds), Rock over the Edge: Transformations in Popular Music Culture, (Durham: Duke University Press, 2002), pp. 25-59 (p. 49)
8. Small, Musicking, p. 8. Philosopher Stan Godlovitch adopts the same perspective on classical music in his Musical Performance: A Philosophical Study (London: Routledge, 1998)
9. Pavis, L'Analyse, pp. 39-42
10. Susan Fast, In the Houses of the Holy: Led Zeppelin and the Power of Rock Music (Oxford: Oxford University Press, 2001), p. 114
11. Simon Frith, Performing Rites: On the Value of Popular Music (Cambridge, MA: Harvard University Press, 1996), p. 211. Frirh's suggestion that listeners mentally produce the aspects of performance not present in sound recordings is comparable to Wolfgang Iser's notion that because literary texts are radically incomplete in themselves, the act of reading consists of filling in the gaps of the rext. See the excerpt from Iser's The Act of Reading A Theory of Aesthetic Response, in Counsell and Wolf, Performance Analysis, pp. 179-185
12. Frith, Performing Rites, pp. 186, 212
13. Richard Scheduler, 'Performers and Spectators Transported and Transformed', The Kenyan Review, New Series, 3: 4 (Fall 1981), 83-113 (p. 88)
14. Fast, Houses, p. 149
15. D. A, Pcnnebaker (dir.), Ziggy Stardust and the Spiders front Mars: The Motion Picture (1982)
16. For a discussion of the conductor as performer, see Small, Musicking, pp. 78-86. Godlovitch argues for what he calls the 'personalist' view of classical music soloists according to which the onstage behavior and mannerisms of the performer are essential components of the aesthetic experience of the music (Musical Performance, pp. 140-142)
17. See Simon Frith and Angela McRobbie, 'Rock and Sexuality', in Simon Frirh and Andrew Goodwin (eds). On Record; Rock, Pop' the Written Word (London: Routledge, 1990), pp. 371-389' (p. 372)
18. Sheila Whiteley, 'Little Red Rooster v. Trie Honky Tank Woman: Mick Jagger, Sexuality, Style and Image', in Sheila Whiteley (ed), Sexing the Groove', Popular Music and Gender (London: Routledge, 1997), pp. 67-99 (pp. 76, 97)
19. Victor Turner, From Ritual to Theatre: The Human Seriousness of Flay (New York: PAJ Publications, 1982), p. 85
20. See Philip Auslander, 'I Wanna Be Your Man: Suzi Quatro's Musical Androgyny', Popular Music (2004 forthcoming)